manger, and the beautiful Christmas Eve is passed, the rustic piper make his round among the houses, where every one compliments and thanks him, and, moreover, gives him in small coin the price of the shrill notes with which he has enlivened the evening entertainments.

"More or less, until Christmas Eve, all goes on in this way among our devout singers, with the difference of some gallons of wine or some hundreds of chestnuts. But this famous eve once come, the scale is pitched upon a higher key; the closing evening must be a memorable one. The toilet is begun at nightfall; then comes the hour of supper, admonishing divers appetites; and groups, as numerous as possible, are formed to take together this comfortable evening repast. The supper finished, a circle gathers around the hearth, which is arranged and set in order this evening after a particular fashion, and which at a later hour of the night is to become the object of special interest to the children. On the burning brands an enormous log has been placed. This log assuredly does not change its nature, but it changes its name during this evening: it is called the Suche (the Yule-log). Look you,' say they to the chiaren, if you are good this evening, Noel' (for with children one must always personify) 'will rain down sugar-plums in the night.' And the children sit demurely, keeping as quiet as their turbulent little natures will permit. The groups of older persons, not always as orderly as the children, seize this good opportunity to surrender themselves with merry hearts and boisterous voices to the chanted worship of the miraculous Noel. For this final solemnity, they have kept the most powerful, the most enthusiastic, the most electrifying carols. Noel! Noel! Noel!-this magic word resounds on all sides; it seasons every sauce, it is served up with every course. Of the thousands of canticles which are heard on this famous eve, ninety-nine in a hundred begin and end with this word; which is, one may say, their Alpha and Omega, their crown and footstool. This last evening, the merry-making is prolonged. Instead of retiring at ten or eleven o'clock, as is generally done on all the preceding evenings, they wait for the stroke of midnight: this word sufficiently proclaims to what ceremony they are going to repair. For ten minutes or a quarter of an hour, the bells have been calling the faithful with a triple-bob-major; and each one, furnished with a little taper streaked with various colours (the Christmas Candle), goes through the crowded streets, where the lanterns are dancing like Will-o'-the-Wisps, at the impatient summons of the multitudinous chimes. It is the Midnight Mass. Once inside the church, they hear with more or less piety the Mass, emblematic of the coming of the Messiah. Then in tumult and great haste they return homeward, always in numerous groups; they salute the Yulelog; they pay homage to the hearth; they sit down at table; and, amid songs which reverberate louder than ever, make this meal of after-Christmas, so long looked for, so cherished, so joyous, so noisy, and which it has been thought fit to call, we hardly know why, Rossignon. The supper eaten at nightfall is no impediment, as you may imagine, to the appetite's returning; above all, if the going to and from church has made the devout eaters feel some little shafts of the sharp and biting north wind. Rossignon then goes on merrily-sometimes far into the morning hours; but, nevertheless, gradually throats grow hoarse, stomachs are filled, the Yule-log burns out, and at last the hour arrives when each one, as best he may, regains his domicile and his bed, and puts with himself between the sheets the material for a good sorethroat, or a good indigestion, for the morrow. Previous to this, care has been taken to place in the slippers or wooden shoes of the chidren tre sugar-plums, which shall be for them, on their waking, the welcome fruits of the Christmas log."

In the Glossary, the Suche, or Yule-log, is thus defined :

"This is a huge log, which is placed on the fire on Christmas Eve, and which in Burgundy is called, on this account, lai Suche de Noei. Then the father of the family, particularly among the middle classes, sings solemnly Christmas carols with his wife and children, the smallest of whom he sends into the corner to pray that the Yule-log may bear him some sugar-plums. Meanwhile, little parcels of them are placed under each end of the log, and the children come and pick them up, believing, in good faith, that the great log has borne them."

Note 39, p. 320.-"The Golden Legend."-The old Legenda Aurea, o Golden Legend, was originally written in Latin, in the thirteenth century, by

Jacobus de Voragine, a Dominican friar, who afterwards became Archbishop of Genoa, and died in 1292.

He called his book simply "Legends of the Saints." The epithet of Golden was given it by his admirers; for, as Wynkin de Worde says, "Like as passeth gold in value all other metals, so this Legend exceedeth all other books." But Edward Leigh, in much distress of mind, calls it "a book written by a man of a leaden heart for the basenesse of the errours, that are without wit or reason, and of a brazen forehead, for his impudent boldnesse in reporting things so fabulous and incredible.'

This work, the great text-book of the legendary lore of the Middle Ages, was translated into French in the fourteenth century by Jean de Vignay, and in the fifteenth into English by William Caxton. It has lately been made more accessible by a new French translation: La Légende Dorée, traduite du Latin, par M. G. B. Paris, 1850. There is a copy of the original, with the Gesta Longobardorum appended, in the Harvard College Library, Cambridge, printed at Strasburg, 1496. The title-page is wanting; and the volume begins with the Tabula Legendorum.

I have called this poem the Golden Legend, because the story upon which it is founded seems to me to surpass all other legends in beauty and significance. It exhibits, amid the corruptions of the Middle Ages, the virtue of disinterestedness and self-sacrifice, and the power of Faith, Hope, and Charity, sufficient for all the exigencies of life and death. The story is told and perhaps invented, by Hartmann von der Aue, a Minnesinger of the twelfth century. The original may be found in Mailáth's Altdeutsche Gedichte, with a modern German version. There is another in Marbach's Volksbücher, No. 32.

Note 40, p. 320.-"Lux, Dux, Lex, Rex."-On the northern wall of the church of St. Pierre de Dorat is sculptured a simple Greek cross with this inscription. It represents the Cross as the light and guide and law and ruler of the world. These all centre in the Cross, and radiate from it. See Didron, Iconographie, p. 408; Millington's Translation, I. 399.

Note 41, p. 320.-" For these bells have been anointed,
And baptized with holy water!”

The Consecration and Baptism of Bells is one of the most curious ceremonies of the Church in the Middle Ages. The Council of Cologne ordained as follows:

"Let the bells be blessed, as the trumpets of the Church militant, by which the people are assembled to hear the word of God; the clergy to announce his mercy by day, and his truth in their nocturnal vigils: that by their sound the faithful may be invited to prayers, and that the spirit of devotion in them may be increased. The fathers have also maintained that demons affrighted by the sound of bells calling Christians to prayers, would flee away; and when they fled, the persons of the faithful would be secure : that the destruction of lightnings and whirlwinds would be averted, and the spirits of the storm defeated."-Edinburgh Encyclopædia, Art. Bells. See also Scheible's Kloster, VI. 776.

Note 42, p. 348.-" It is the malediction of Eve !"-"Nec esses plus quam femina, quæ nunc etiam viros transcendis, et quæ maledictionem Evæ in benedictionem vertisti Mariæ."-Epistola Abelardi Heloissa.

Note 43, p. 368.-" To come back to my text !"-In giving this sermon of Friar Cuthbert as a specimen of the Risus Paschales, or street-preaching of the monks at Easter, I have exaggerated nothing. This very anecdote, offensive as it is, comes from a discourse of Father Barletta, a Dominican friar of the fifteenth century, whose fame as a popular preacher was so great, that it gave rise to the proverb,

Nescit predicare

Qui nescit Barlettare.

"Among the abuses introduced in this century," says Tiraboschi," was

that of exciting from the pulpit the laughter of the hearers; as if that were the same thing as converting them. We have examples of this, not only in Italy, but also in France, where the sermons of Menot and Maillard, and of others, who would make a better appearance on the stage than in the pulpit, are still celebrated for such follies."

If the reader is curious to see how far the freedom of speech was carried in these popular sermons, he is referred to Scheible's Kloster, vol. I., where he will find extracts from Abraham a Sancta Clara, Sebastian Frank, and others; and in particular an anonymous discourse called Der Gräuel der Verwüstung, the Abomination of Desolation, preached at Ottakring, a village west of Vienna, November 25, 1782, in which the licence of language is carried to its utmost limit.

See also Prédicatoriana, ou Révélations singulières et amusantes sur les Prédicateurs; par G. P. Philomneste. (Menin.) This work contains extracts from the popular sermons of St. Vincent Ferrier, Barletta, Menot, Maillard, Marini, Raulin, Valladier, De Besse, Camus, Père André, Bening, and the most eloquent of all, Jaques Brydaine.

My authority for the spiritual interpretation of bell-ringing, which follows, is Durandus, Ration. Divin. Offic., Lib. I. cap. 4.

Note 44, p. 371.-"The Nativity: a Miracle-Play."-A singular chapter in the history of the Middle Ages is that which gives account of the early Christian Drama, the Mysteries, Moralities, and Miracle-Plays, which were at first performed in churches, and afterwards in the streets, on fixed or moveable stages. For the most part, the Mysteries were founded on the historic portions of the Old and New Testaments, and the Miracle-Plays on the lives of Saints; a distinction not always observed, however, for in Mr. Wright's "Early Mysteries and other Latin Poems of the Twelfth and Thirteenth Centuries," the Resurrection of Lazarus is called a Miracle, and not a Mystery. The Moralities were plays, in which the Virtues and Vices were personified.

The earliest religious play, which has been preserved, is the Christos Paschon of Gregory Nazianzen, written in Greek, in the fourth century. Next to this come the remarkable Latin plays of Roswitha, the Nun of Gandersheim, in the tenth century, which, though crude and wanting in artistic construction, are marked by a good deal of dramatic power and interest. A handsome edition of these plays, with a French translation, has been lately published, entitled Théâtre de Rotsvitha, Religieuse allemande du Xe. Siècle. Par Charles Magnin. Paris, 1845.

The most important collections of English Mysteries and Miracle-Plays are those known as the Townley, the Chester, and the Coventry Plays. The first of these collections has been published by the Surtees Society, and the other two by the Shakespeare Society. In his Introduction to the Coventry Mysteries, the editor, Mr. Halliwell, quotes the following passage from Dugdale's Antiquities of Warwickshire:

"Before the suppression of the monasteries, this city was very famous for the pageants, that were played therein, upon Corpus-Christi day; which, occasioning very great confluence of people thither, from far and near, was of no small benefit thereto; which pageants being acted with mighty state and reverence by the friars of this house, had theaters for the severall scenes, very large and high, placed upon wheels, and drawn to all the eminent parts of the city, for the better advantage of spectators: and contain'd the story of the New Testament, composed into old English Rithme, as appeareth by an ancient MS. intituled Ludus Corporis Christi, or Ludus Conventriæ. I have been told by some old people, who in their younger years were eyewitnesses of these pageants so acted, that the yearly confluence of people to see that show was extraordinary great, and yielded no small advantage to the

city."

The representation of religious plays has not yet been wholly discontinued by the Roman Church. At Ober-Ammergau, in the Tyrol, a grand spectacle of this kind is exhibited once in ten years. A very graphic description of that which took place in the year 1850 is given by Miss Anna Mary Howitt, in her "Art-Student in Munich," vol. I., chap. iv. She says

"We had come expecting to feel our souls revolt at so material a representation of Christ, as any representation of him we naturally imagined

must be in a peasant's Miracle-Play. Yet so far, strange to confess, neither horror, disgust, nor contempt was excited in our minds. Such an earnest solemnity and simplicity breathed throughout the whole of the performance, that to me, at least, anything like anger, or a perception of the ludicrous, would have seemed more irreverent on my part than was this simple, childlike rendering of the sublime Christian tragedy. We felt at times as though the figures of Cimabue's, Giotto's, and Perugino's pictures had become animated, and were moving before us; there was the same simple arrangement and brilliant colour of drapery-the same earnest, quiet dignity about the heads, whilst the entire absence of all theatrical effect wonderfully increased the illusion. There were scenes and groups so extraordinarily like the early Italian pictures, that you could have declared they were the works of Giotto and Perugino, and not living men and women, had not the figures moved and spoken, and the breeze stirred their richly-coloured drapery, and the sun cast long, moving shadows behind them on the stage. These effects of sunshine and shadow, and of drapery fluttered by the wind, were very striking and beautiful; one could imagine how the Greeks must have availed themselves of such striking effects in their theatres open to the sky."

Mr. Bayard Taylor, in his "Eldorado," gives a description of a Mystery he saw performed at San Lionel, in Mexico. See vol. II., chap. xi.

"Against the wing-wall of the Hacienda del Mayo, which occupied one end of the plaza, was raised a platform, on which stood a table covered with scarlet cloth. A rude bower of cane-leaves, on one end of the platform, represented the manger of Bethlehem; while a cord, stretched from its top across the plaza to a hole in the front of the church, bore a large tinsel star, suspended by a hole in its centre. There was quite a crowd in the plaza, and very soon a procession appeared, coming up from the lower part of the village. The three kings took the lead; the Virgin, mounted on an ass that gloried in a gilded saddle and rose-besprinkled mane and tail, followed them, led by the angel; and several women, with curious masks of paper, brought up the rear. Two characters of the harlequin sort-one with a dog's head on his shoulders, and the other a hald-headed friar, with a huge hat hanging on his back-played all sorts of antics for the diversion of the crowd. After making the circuit of the plaza, the Virgin was taken to the platform, and entered the manger. King Herod took his seat at the scarlet table, with an attendant in blue coat and red sash, whom I took to be his Prime Minister. The three kings remained on their horses in front of the church; but between them and the platform, under the string on which the star was to slide, walked two men in long white robes and blue hoods, with parchment folios in their hands. These were the Wise Men of the East, as one might readily know from their solemn air, and the mysterious glances which they cast towards all quarters of the heavens.

At

"In a little while, a company of women on the platform, concealed behind a curtain, sang an angelic chorus to the tune of "O pescator del' onda.' the proper moment, the Magi turned towards the platform, followed by the star, to which a string was conveniently attached, that it might be slid along the line. The three kings followed the star till it reached the manger, when they dismounted, and inquired for the sovereign whom it had led them to visit. They were invited upon the platform, and introduced to Herod, as the only king; this did not seem to satisfy them, and, after some conversation, they retired. By this time the star had receded to the other end of the line, and commenced moving forward again, they following. The angel called them into the manger, where, upon their knees, they were shown a small wooden box, supposed to contain the sacred infant; they then retired, and the star brought them back no more. After this departure, King Herod declared himself greatly confused by what he had witnessed, and was very much afraid this newly-found king would weaken his power. Upon consultation with his Prime Minister, the Massacre of the Innocents was decided upon, as the only means of security.

"The angel, on hearing this, gave warning to the Virgin, who quickly got down from the platform, mounted her bespangled donkey, and hurried off. Herod's Prime Minister directed all the children to be handed up for execution. A boy, in a ragged sarape, was car and thrust forward; the Minister took him by the heels in spite of his kicking and held his head on the table. The little brother and sister of the boy, thinking he was really to be decapitated, yelled at the top of their voices, in an agony of terror, which threw the

crowd into a roar of laughter. King Herod brought down his sword with a whack on the table, and the Prime Minister, dipping his brush into a pot of white paint which stood before him, made a flaring cross on the boy's face. Several other boys were caught and served likewise; and, finally, the two harlequins, whose kicks and struggles nearly shook down the platform. The procession then went off up the hill, followed by the whole population of the village. All the evening there were fandangos in the méson, bonfires and rockets on the plaza, ringing of bells, and high mass in the church, with the accompaniment of two guitars, tinkling to lively polkas."

In 1852 there was a representation of this kind by Germans in Boston: and I have now before me the copy of a play-bill, announcing the performance, on June 10, 1852, in Cincinnati, of the "Great Biblico-Historical Drama, the Life of Jesus Christ," with the characters and the names of the performers.

Note 45, p. 389.-"The Scriptorium.”—A most interesting volume might be written on the Caligraphers and Chrysographers, the transcribers and illuminators of manuscripts in the Middle Ages. These men were for the most part monks, who laboured, sometimes for pleasure and sometimes for penance, in multiplying copies of the classics and the Scriptures.

"Of all bodily labours, which are proper for us," says Cassiodorus, the old Calabrian monk, "that of copying books has always been more to my taste than any other: the more so, as in this exercise the mind is instructed by the reading of the Holy Scriptures, and it is a kind of homily to the others, whom these books may reach. It is preaching with the hand, by converting the fingers into tongues; it is publishing to men in silence the words of salva tion; in fine, it is fighting against the demon with pen and ink. As many words as a transcriber writes, so many wounds the demon receives. In a word, a recluse, seated in his chair to copy books, travels into different provinces without moving from the spot, and the labour of his hands is felt even where he is not."

Nearly every monastery was provided with its Scriptorium. Nicolas de Clairvaux, St. Bernard's secretary, in one of his letters describes his cell, which he calls Scriptoriolum, where he copied books. And Mabillon, in his Etudes Monastiques, says that in his time were still to be seen at Citeaux many of those little cells, where the transcribers and bookbinders worked." Silvestre's Paléographie Universelle contains a vast number of fac-similes of the most beautiful illuminated manuscripts of all ages and all countries; and Montfaucon, in his Palæographia Græca, gives the names of over three hundred caligraphers. He also gives an account of the books they copied, and the colophons with which, as with a satisfactory flourish of the pen, they closed their long-continued labours. Many of these are very curious; expressing joy, humility, remorse; entreating the reader's prayers and pardon for the writer's sins; and sometimes pronouncing a malediction on any one who should steal the book. A few of these I subjoin: :

"As pilgrims rejoice, beholding their native land, so are transcribers made glad, beholding the end of a book."

"Sweet is it to write the end of any book."

"Ye who read, pray for me who have written this book, the humble and sinful Theodulus."

"As many therefore as shall read this book, pardon me, I beseech you, if aught I have erred in accent acute and grave, in apostrophe, in breathing soft or apirate; and may God save you all! Amen."

"If anything is well, praise the transcriber; if ill, pardon his unskilfulness."

"Ye who read, pray for me, the most sinful of all men, for the Lord's

sake."

"The hand that has written this book shall decay, alas! and become dust, and go down to the grave, the corrupter of all bodies. But all ye who are of the portion of Christ, pray that I may obtain the pardon of my sins. Again and again I beseech you with tears, brothers and fathers, accept my miserable supplication, O holy choir! I am called John, woe is me!' I am called Hiereus, or Sacerdos, in name only, not in unction."

"Whoever shall carry away this book, without permission of the Pope, may he incur the malediction of the Holy Trinity, of the Holy Mother of